My arangetram program

Pushpanjali is
the invocatory piece in a solo performance. It comes from the ancient language ‘Sanskrit’
where ‘pushpam’ means ‘flower’ and ‘anjali’ means ‘offering with folded hands’. In
this dance, the performer offers flowers to Lord Nataraja, the presiding deity
of dance. She then seeks the blessings of her Guru, the accompanying artists,
and the Sabha, or audience.

Shlokam

Ragam: Gambeera
Natai

This
is a shlokam, or prayer, where the dancer prays to Lord Ganesha to bless her so
that she may render the complete performance seamlessly without any obstacles.

Ganesha Vandana--Shri Mahaganapathi
Ravathumam

Ragam:Gaula Thalam:
Misra Chapu

Composer: Muthuswamy
Dikshithar

In this piece,
the composer praises Lord Ganesha as the root of everything. She describes him
as the remover of obstacles, the embodiment of knowledge, and the one who is
worshipped by all. The composer compares Ganesha’s bright aura to a thousand
suns and proclaims that he can ultimately offer salvation to mankind.

Allarippu

Ragam: Malayamarutham Thalam:
Rupaka

Allarippu is
commonly performed to a basic rhythmic cycle of 3, 4, 5, 7 or 9 beats. This
Allarippu is set to 3 beats, and will be rendered along with the beautiful
Thirupugal. Here the dancer starts her movements in accordance to the
Natyarambhe position. This is a pure
Nritha piece, so there is no abhinaya (expressions).

Jathiswaram

Ragam:Hamsanandi Thalam: Rupaka

Composer: K.N.
Dandayudhapani Pillai

Jathiswaram is
another pure Nritha piece that consists of short footwork passages. Each
segment has a variety of complex rhythmic patterns woven together. The dancer
executes different sets of footwork in a set tempo with the underlying melody
of the Swarams. It is a piece that allows the dancer to exhibit mastery over
Nritha and rhythm.

Shabdham--Thillai Ambalam

Ragam:Ragamallika Thalam:Misra Chapu

Composer: Thanjavur
Arunachalam Pillai

This
piece introduces the Abhinaya, or the expressive aspect of this dance form. Here,
the composer talks about a Nayika, (the heroine) who imagines herself as the
lover of Lord Nataraja, who majestically dances in Thillai Ambalam. He
describes the heroine’s love and devotion for her Lord. In one of the verses,
the composer writes ”Karpanai ketaada gaganithil nindradum adbhutha natanam”,
which means that nothing can parallel Lord Nataraja’s dance, and that he
transcends every level of imagination that the human mind is capable off. She
tells her Sakhi, or friend, that her separation from her Lord makes her feel
weak. She feels that her soul is sinking by being distanced from him. The
Nayika reveals her feelings, and expresses her desire of marriage to him. She
continues the conversation with her friend questioning, “Oh my dear Sakhi, will
this ever be a reality or it is just my imagination?”

Varnam--Sakhiye

Ragam:
Sankarabaranam Thalam:
Adi Thalam

Composer:K.N.
Dandayudhapani Pillai

The Varnam is lengthiest
item in the Margam and is considered to be the most complex dance piece. Varnams
are usually 30-40 minutes in length, and they alternate between Jathis (footwork
passages) and Sahityams (expressive segments). This item challenges the dancer’s
endurance, Nritha capability, and rhythmic knowledge at different speeds.

Sakhiye
Indah Jalam is a Pada Varnam in Tamil where the main bhava (emotion) is
Shringaram (love), which is one of the most predominant rasas (emotion) of the
navarasa’s (the 9 basic emotions in dance).

This piece is a dialogue
between the heroine and her friend, where the heroine says “Sakhiye indah jalam
Yenadi Yendan Samiye vara Cholladi Idu Samayam,” which translates into “Dear
friend, why are you behaving so distant towards me? Please go and tell my lord
to come here. This is the right time to bring him.” The heroine continues to
tell her friend that she thinks of her Lord day and night, and that she misses
him so much that she cannot even eat or continue to live normally. She eagerly
looks forward to the time when her Lord will come and comfort her, and end all
of her sorrow. As her love and yearning for him heightens, she strongly comes
to believe that he, who protected the great Pancha Pandavas, will definitely be
moved by her deep devotion and accept her.

HONORING GURU, GUESTS, AND ORCHESTRA

Chief Guest: Sri. V.V. Sundaram

Guest of Honor: Smt. Hema Rajagopalan

Guest of Honor: Sri. K. P. Singh
Guru: Smt. Mangala Anand

Devarnama--Gummana Karayadhirai Amma

Ragam:Ragamallika Thalam:Chathushra Eka Thalam

Composer:St.
Purandaradasa

The
episode begins with Krishna as a very young boy, who steals butter and is caught
by his mother, Yashodha. She threatens to call the Gumma, or the imaginary
demon, if Krishna does not behave. Little Krishna pleads with his mother saying,
“Gummana kareyadire, Amma ninu”, which means, “Mother, please don’t call the
Gumma.” He makes several promises to be a very obedient child. He agrees to do
everything she wishes. Krishna brings up his previous naughty acts, and assures
that he will never repeat them. Meanwhile, Yashoda enjoys every moment of his
desperate act of persuasion, and tries hard to be serious with him. However,
she eventually gives in and embraces her child, as she feels blessed to be his
mother.

Padam--Arputhashilpiadi Ponnama

Ragam:Ragamallika Thalam:Thisra
Chapu

Arpudhashirpiyadi
Ponnama is a fast paced padam that depicts Lord Shiva as a magnificent shilpi
(sculptor). Lord Nataraja is the Lord of Dance but he is also an artist in many
aspects. She describes the unique appearance of Shiva with both Gangai and
Mangai within him, and praises him as the one who dances with the Bhoota Ganas.
He majestically stands on his divine golden feet and is praised for his endless
wisdom and valor.

Krithi--Broche Va

Ragam: Kamas Thalam: Adi

Composer:Mysore
Vasudevachar

Brocheva
Yevarura is a kriti in praise of Lord Rama. In this piece, the composer depicts
the emotions of a bhakta (devotee). The devotee asks his lord “brochevar
yevarura ninuvina raghuvara”, meaning “who will protect me other than you, my
lord Raghuvara?” This piece has depictions of some of the famous episodes from
Ramayana, in the form of Sancharis. The few episodes that will be depicted are
the Ahalya Moksham, Shabari and Sita Swayamvaram.

Ahalya Moksham: Ahalya was the
wife of the Sage Gautama Maharishi. In this episode, Indra seduces Ahalya in
Gautama’s absence. When Gautama returns, he finds them together and out of
rage, he curses both of them. Indra flees the scene, and Ahalya is turned to
stone by Gautama’s curse. Many lifetimes later, Rama incidentally finds Ahalya,
and blesses her. After receiving Rama’s blessing, she returns to her human
form.

Shabari: Shabari was an
old woman, and a huge devotee of Lord Rama. She was previously informed by Sage
Mathanga that one day, Lord Rama will come to her home, so she eagerly awaits
his arrival for many years. When Rama finally comes, she offers him handpicked
berries. However, she does not want Rama to eat sour berries, so she tries each
berry before offering it to him. Even though the berries were bitten by
Shabari, Rama still eats them,

and
in doing so, he gives her salvation. Shabari’s long life ends in her happiest
moment after being blessed by Lord Rama

SitaSwayamvaram: In this episode, King
Janaka, who is in possession of Lord Shiva’s massive bow, makes an announcement
that he will give his daughter’s hand in marriage to the man who is strong
enough to string the bow. Many kings come from all over the country to attempt
to string the bow, but none are able to even lift it off the ground. When Rama
comes forward, he pays his respects to the king and Shiva’s bow before
starting. He lifts it off the ground, and when he attempts to string it, the
bow breaks in half. King Janaka immediately gives his daughter’s hand in
marriage to Rama.

VOTE OF THANKS

Tillana

Ragam:Thilang Thalam:Adi
thalam

Composer: Lalgudi G.
Jayaraman

Tillana
is traditionally the last piece in the Margam and hence concludes the dance
repertoire for an Arangetram. This piece is usually fast paced with vibrant
short Nritha passages and has the lyrics dedicated to the Ishta Devatha, or the
preferred diety, of the composer. Tillana is the finale piece, with the intent
to conclude on an upbeat and energetic mood.

Mangalam

Ragam:Sourastra Thalam:Adi Thalam

Composer: St.
Thyagaraja

This
is the concluding piece where the dancer once again receives blessings from
Lord Nataraja, and offers her thanks to the guru, accompanying artists and the
audience.

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About Jwala Rejimon

Jwala Priyadarshini Rejimon is a Bharatanatyam dance lover and performer. She started learning Bharatanatyam at the age of seven completed her arangetram at 17. Jwala has performed in many sabhas in Chennai and has won several classical dance competitions. Jwala loves to perform Bharatanatyam in temples, sabhas and other cultural festivals.